Kickended by Silvio Lorusso is online database artwork archiving the Kickstarted campaigns that got not even a single penny. This competitive aesthetics of failure has been able to attract the attention of major national newspapers (from the British “The Guardian” to the Italian “Corriere della Sera”).

Graphic Constellations: Visual Poetry and the Properties of Space, it’s an exhibition celebrating the 50th anniversary of the First International Exhibition of Concrete, Kinetic and Phonic Poetry held in Cambridge in late 1964. Curated by Bronac Ferran and Will Hill at the Ruskin Gallery in Cambridge, UK (Image: ‘Poemkon=D=4=Open=Apollinaire’).

The Pirate Bay computers and servers have been seized by Swedish Police on a data center in Nacka (Greater Stockholm). It’s offline since December 9. http://torrentfreak.com/swedish-police-raid-the-pirate-bay-site-offline-141209/

“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.

Matt Brailsford used a modified old tape player as interface to this Raspberry Pi + Spotify Media Server, so listener can use the player (and the cassettes) as physical interface to the different playlists.

v3

The tenth release by the portuguese label Crónica closes the first phase of its excellent productive path. Since the first release, Hard Disk, the spirit of experimenting with the parameters of discographic products has always been kept alive. The effort this label puts in choosing quality, even if it started from glitches and minimalisms, has privileged the discussion of the default compositions, centered around a track list, the interactions with ultrasounds, the combinations of two authors (splitting) on a single CD and, most of all, the visual part, both from a static viewpoint (their CD sleeves were made by famous designers) and from a dynamic one, with videos and interactive tracks, a care which they maintained. This ‘v3′, too, contains important elements of transition, where the organic presence of voices and echoes of reality penetrate the electronic presences. It’s a composite alchemy, made of suites connected to one another in a single smooth narration where shards of digital sounds mix with samples and sounds of the environment. It’s a technique which can be percepted in the duality of the booklet illustrations, which integrate the ink trait with objects and concepts taken from the world of human-machine interaction. It’s a mix of languages which goes beyond the dogmas and plays with different fascinating worlds. Finally, the Shockwave track, which allows to visually control two different algorithms, gives an insight into Lia’s feminine sensitivity, which can be felt also in the fludity of the simmetries and the juxtapositions of colours.